EoYS21_MArch_34

c u r i o

marisa kefalidis gsapp 2021

2

3

c o n t e n t [ s ] 4

[1] core 1

fall 2016 | critic: christoph kumpusch | under/above/in/on

[2] core 2

spring 2017 | critic: christoph kumpusch | library of illiteracy

[3] core 3

fall 2017 | critic: mario gooden | mobile domesticity

[4] advanced 4

spring 2020 | critic: robert marino | flexible boathouse

[5] advanced 5

fall 2020 | critic: mark rakatansky + jorge otero-pailos | interpretative center

[6] advanced 6

spring 2021 | critic: LOT-EK | makergraph | sugar & me

+

[7] studio x | burning man | summer 2017 [7.5] burning man 2.0 | fall 2017 [8] make | fall 2020

5

[1] fall 2016 critic: christoph kumpusch under/above/in/on

6

7

[under] Under aims to design an object which can swin; my investigation of propulsion began with the study of frogs. As frogs swim forward, they create circular motion, with outward and inward forces exerted in many directions and across planes. However, collectively, it reads as a singular forward motion.

Under shifted towards an interest in motion masked or hidden. An attempt to have the object do the opposite of what appears possible or expected.

8

9

10

11

12

13

[above] Above began with a study of the intersection of West 14th and Washington Streets. The observational approach was empirical; quantifiable measurements such as the number of cars or pedestrians in consistent time increments were recorded.

Visually, this translated into a discussion of the subjective nature of data collection. Data, like ornament, exists on my scales. As it grows and shrinks in scale, data fields become singular instances, as texture becomes ornament. At times these systems interact, while in other instances define themselves as distinct from one another.

14

15

16

17

18

19

20

21

[ i n ] In began with a exploration of the unseen spaces that exist in a subway system: offices, service tunnels, light and ventilation shafts, etc. The topic was approached through the act of carving: excavating a solid mass into a series of interconnected tunnels and voids.

This collective system was then materialized.

The shape was extruded and rotated to explore responses to motion in the two iterations. In contrast to the solid from which it emerged, the built form in relation to its original, warrants questions of function, and if the two shapes should in fact be read as doppelgangers.

22

23

24

25

26

27

28

29

[ o n ] On began with a interest in the typology of floating structures, and the potential to expand the city’s boundaries in a malleable and adaptable way. The formal framework of the shipping barge became the basis for explorations of reconfiguration and adaptation. I understand this project as a prototype for retrofitting barges in many communities. On is at once site-less, and can be docked and relocated, yet also hyper specific. The barge serves the specific community’s needs, which over time will change or disappear, at which point the barge can be reconfigured or relocated.

30

31

32

33

34

35

[2] spring 2017 critic: christoph kumpusch library of illiteracy

This ‘library’ address art illiteracy through art therapy. The arts have long been considered a healing practice. Artistic expression has been shown to foster physical, mental, and emotional well-being. The mission of a designated art center is to harness and promote creative expression to foster life enhancement and wellness. Motivation or desire for art exploration is highly individual and ranges dramatically from person to person; this is mirrored in the form of the center itself.

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

[3] fall 2017 with: mariella tzakis critic: mario gooden mobile domesticity

54

Mobile domesticity studies the dynamics of domestic space.

Focusing on the small neighborhood radius and modes of mobility to the micro scale, the project looks at user engagement within individual units of the building. If domestic space is understood as transient, the space begins to develop a hierarchy of architectural elements and operations from static to dynamic, while maintaining constant notions of community, citing the larger neighborhood dynamics. Communal spaces between units allow for social and community engagements, as well as flexibility of domestic space, as operations of a single unit come in and out of this area, opening and closing for the user’s needs, relocating to create autonomy for a time, or re-situating to connect or join in other orientations. Our domestic scenarios do not intend to make harsh distinctions between programs within the house because of that condition’s understood malleability.

55

56

57

Reading Unit

58

Eating Unit

Working Unit

Folding Unit

59

60

61

62

63

64

65

66

67

68

69

[4] spring 2020 critic: bob marino flexible boathouse This project aims to marry the existing Newburgh Rowing Club to a mutually beneficial secondary program. In adding a flexible community facility to the site, the project embraces the opportunity to at once draw attention to the sport and the club, while also sharing the amenity of waterfront access. By hosting local community events, the club will be able to generate an income stream helping to support its non-profit camps, clubs, and programs.

The existing building, lovingly built by the Newburgh community, will be preserved and converted into increased boat storage and an enlarged boat workshop. Here, site interventions will address only previously sustained water damage and future flood mitigation. A covered walkway physically links the old and new structures, and visually draws arriving boathouse visitors directly towards the docks, seen through this opening.

70

While the new facility shares a scale and form with the existing, it is consciously differentiated by positioning itself perpendicular to the existing building, and at nearly twice its height. Both decisions were made in order to emphasize water views, specifically from the rental spaces. This positioning also presented the opportunity for flexible bleachers: functioning as club amenity for spectators, a staircase down from the party terrace, and as a community destination along the greater Newburgh public waterfront path.

71

72

73

74

75

GROUND FLOOR PLAN

NORTH - SOUTH ELEVATION

76

SECOND FLOOR PLAN NORTH - SOUTH ELEVATION

EAST - WEST ELEVATION

77

WEST ELEVATION NORTH ELEVATION

EAST ELEVATION

NORTH ELEVATION SOUTH ELEVATION

SOUTH ELEVATION

78

WEST ELEVATION

79

80

81

[5] fall 2020 critic: mark rakatansky + jorge otero-pailos heritage interpretative center

This proposal aims to create an interdisciplinary exhibition space that unites the many educational focuses of the center. Derived from the site history, my curatorial emphasis is on the relationship between site history, social justice, and environmental justice through exhibitions that pull in related and broader interdisciplinary conversations among preservation, conservation, and sustainability practices to name a few. The project began at the scale of an individual object in the collection- understanding what the Jay Heritage had in its physical archive, and how these objects could inform our reading of one another – and gradually create space fostering or responding to this conversation.

82

83

84

85

86

87

SOCIAL JUS

ENTRY LOBBY

COAT CHECK

GIFT SHOP

TICKET OFFICE

LOST

FOUND LOST & FOUND EXHIBIT 88

SOCIAL & ENVIRONMENTAL JUSTICE ENVIRONMENTAL JUSTICE

STICE

LANDSCAPE ROOM BACK OF HOUSE HORTICULTURE BATHROOMS

PLANT LIFE

89

90

91

92

93

94

95

96

97

98

99

100

101

[6] spring 2021 critic: LOTEK STUDIO makergraph studio: sugar & me This project proposes a series of four installations which collectively foster community engagement and encourage the local rediscovery of Morningside Park.

Sugar is chosen not as a commentary on this heritage, but rather as a vehicle for material exploration. Sugar’s physical qualities are distinctive; it is accessible, transformable, and malleable. It can be dense and opaque, or translucent and light. Using a non-traditional material, creates a desire or constant need to draw associations, interpretations, and translations. “This reminds me of that” or “this looks like that,” etc. However, the foreignness of sugar as a construction material has also given me the freedom to explore the material for its physical qualities, only limited by its chemical constraints.

102

103

104

105

makergraph studio 351

site four [umbrella]

sugar sheets

marisa kefalidis

350 site plan

106

makergraph studio 353 marisa kefalidis

1

2

3

site four [umbrella]

sugar sheets

4

352 overall site plan

107

makergraph studio 55

process

operations

marisa kefalidis

54 growing / crystallizing

makergraph studio 61

process

operations

marisa kefalidis

60 hardening clay

108

makergraph studio 57

process

operations

marisa kefalidis

56 casts / structures

makergraph studio 59

process

operations

marisa kefalidis

58 casts

109

makergraph studio 213

site one [climbable]

mouldable clay

marisa kefalidis

212 vignettes

makergraph studio 185

site one [climbable]

mouldable clay

marisa kefalidis

184 material explorations

110

makergraph studio 175

title

title

marisa kefalidis

174 title

makergraph studio 201

site one [climbable]

mouldable clay

marisa kefalidis

200 diagram of site slope

111

makergraph studio 267

site two [scaffold]

gems

marisa kefalidis

266 site two vignettes

makergraph studio 239 247

site two [scaffold]

gems

marisa kefalidis

238 246 material exploration

112

makergraph studio 227

title

title

marisa kefalidis

226 title

makergraph studio 251

site two [scaffold]

gems

marisa kefalidis

250 site two sectional diagram

113

makergraph studio 309

site three [cloud]

spun cotton

marisa kefalidis

308 site three vignettes

makergraph studio 283

site three [cloud]

spun cotton

marisa kefalidis

282 material explorations

114

makergraph studio 279

title

title

marisa kefalidis

278 title

makergraph studio 299

site three [cloud]

spun cotton

marisa kefalidis

298 site section diagram

115

makergraph studio 359

site four [umbrella]

sugar sheets

marisa kefalidis

358 site four vignettes

makergraph studio 331

site four [umbrella]

sugar sheets

marisa kefalidis

330 material explorations

116

makergraph studio 323

title

title

marisa kefalidis

322 title makergraph studio 349

site four [umbrella]

sugar sheets

marisa kefalidis

348 illustration of umbrellas

117

[+] [7] studio x | burning man | summer 2017 [7.5] burning man 2.0 | fall 2017 [8] make | fall 2020

118

119

[7] summer 2017 studio x [burning man] critic: christoph kumpusch with: gsapp workshop This workshop aimed to inhabit the desert: a design + build project designed and fabricated in New York, then disassembled, shipped, and constructed on the playa during the Burning Man Festival.

The project was compromised of 10 modules. These modules began as a framework, interconnected yet distinct spaces, collectively creating a roof structure: a safehaven, a microclimate, an oasis. After the design and construction of the physical frame by a smaller summer team, the workshop joined to design and build the roof itself. The roof design process involved signficant experimentation: with the materiality, the degree of shade (and discernible distictions), and the design of shadows. The membrane roof composition was understood as a series of intersecting surface treatments, edge conditions, and lamination. Upon completion a series of discussions, films, and casual gatherings could be hosted within the space.

120

121

122

123

AXONOMETRIC 1/4 in = 1 ft

A28

PLAN 1/4 in = 1 ft

ELEVATION

A29

1/4 in = 1 ft

A30

KEY NOTES 01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

AXONOMETRIC 1/4 in = 1 ft

ARCH SET 10 ARCH CONSTRUCTION

A16

PLAN 1/4 in = 1 ft

ELEVATION

A17

1/4 in = 1 ft

A18

KEY NOTES 01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

AXONOMETRIC 1/4 in = 1 ft

ARCH SET 06 ARCH CONSTRUCTION

A22

PLAN 1/4 in = 1 ft

ELEVATION

A23

1/4 in = 1 ft

KEY NOTES

124

01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

ARCH SET 08 ARCH CONSTRUCTION

A24

AXONOMETRIC 1/4 in = 1 ft

A31

PLAN 1/4 in = 1 ft

ELEVATION

A32

1/4 in = 1 ft

A33

KEY NOTES 01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

AXONOMETRIC 1/4 in = 1 ft

ARCH SET 11 ARCH CONSTRUCTION

A19

PLAN 1/4 in = 1 ft

ELEVATION

A20

1/4 in = 1 ft

A21

KEY NOTES 01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

AXONOMETRIC 1/4 in = 1 ft

ARCH SET 07 ARCH CONSTRUCTION

A25

PLAN 1/4 in = 1 ft

ELEVATION

A26

1/4 in = 1 ft

A27

KEY NOTES 01. Assume all pipe segments A (PA) to be 1-3/8” in diameter, 10’-6” in length and with both male and female end segments, ref. D03 02. Assume all pipe segments A01-A99 (PA01-99) to be 1-3/8” in diameter and to have female end segments only, ref. D03 03. Assume all pipe segments B (PB) to be 1/2” in diameter and 10’ in length, ref. D02 04. Assume the radius of all pipes in Arch Set 02 to be 12’

ARCH SET 09 ARCH CONSTRUCTION

125

[7.5] fall 2017 xtr-lab burning man temple with: Christoph Kumpusch, Alessandra Calaguire, Dylan Belfield, Yonathan Moore, Zibo Xhau, Hyung Rok Do Decentralized in both production and form, the Temple proposal is a collaboration across 7 cities which come together to create a series of decentralized chapels. Formed by sacred geometries lofted together, the / Temple is constructed from [40] 14’x14’ pre-fabricated wood framed modules. The modules are shaped by voids as traces of Temples past. The / Temple transforms these complex geometries into a modular, pre-fabricated system as a series of elements for easy on-site assembly. The Temple(s) of the past as a monumental object become a series of archetypes that together form a “City of Temples,” or “Temple Town.” Inspiration was drawn from the Temple Towns of South East Asia, emphasizing geometry and repetition of form as the foundation for design, creating clear processional paths.

126

127

128

129

Drawings Drawings

130

31 31

/ Temple / Temple

Modules.

Modules.

Drawings

/ Temple

Module.

131

[8]

fall 2021 LOT-EK studio make seminar domestic experiments Material explorations conducted in the MAKE seminar focused on our current ‘making’ enviornment; the domestic realm. While at a glance the collection is playful and whimsical, one could make the argument that perhaps in many cases this conclusion is a façade for deeper questions about the American domesticity and product. This begins with how materials are rethought in combination, orientation, and scale.

132

133

134

135

136

137

138

139

140

141

142

143

144